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The Daily Hub

A roundup of ideas and projects from around the Institute

  • Associate Professor of Interdisciplinary Practice Carlos Motta received a Ruth Award, which recognizes “extraordinary, critically engaged artists who approach their practices with continuous inquiry, imagination, and rigor.” The $100,000 award notes that “alongside videos and sculptures, the multidisciplinary artist produces social spaces for conversation that bring solace and knowledge to participants and audiences.”

  • ¡LLÁMENME ROBERTO! (Call Me Roberto!), a nonfiction picture book illustrated by Professor of Undergraduate Communications Design Rudy Gutierrez, was named to the Bank Street Mejor Libro Infantil/Best Spanish Language Picture Book List 2025.

  • The Mellon Foundation included Adjunct Associate Professor of Undergraduate Architecture Scott Ruff in an article about preserving the Coles House and Studio by architect Robert Traynham Coles. Ruff co-leads the Coles House Project. “This is a demigod as far as I am concerned . . . and there’s an opportunity to continue his legacy?” said Ruff. “Even though I have so many other things I’m doing, why wouldn’t I drop almost everything else and say, yes, this is important?” 

  • David Burney, academic director of urban placemaking management; and visiting associate professor in the Graduate Center for Planning and the Environment, published an opinion piece in Common Edge about public housing in Manhattan.

  • Visiting Assistant Professor of Film/Video Suneil Sanzgiri’s film, Two Refusals (Would We Recognize Ourselves Unbroken?), was reviewed in Dissent. Another film by Sanzgiri, What is Owed?, was featured by Prism in an article about the stakes of climate change. What is Owed? “interrogates the systems of power at the heart of climate change’s energy imbalance.” 

  • An Earthquake Is a Shaking of the Surface of the Earth, by Adjunct Associate Professor – CCE of Writing Anna Moschovakis, was reviewed in the Los Angeles Review of Books. “Moschovakis is a writer with an impressive toolbox of techniques, and they are employed here with a kinetic precision,” writes Annie Lou Martin. “The surface quakes, but at the core, Moschovakis maintains an expert sense of control: the result is a novel that’s endlessly rereadable, continuously shimmering at its edges, generating new meaning with each slight shift in tone or light.”

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